RogerEbert.com's Scores

For 120 reviews, this publication has graded:
  • 37% higher than the average critic
  • 5% same as the average critic
  • 58% lower than the average critic
On average, this publication grades 4 points lower than other critics. (0-100 point scale)
Average TV Show review score: 61
Highest review score: 100 Fargo: Season 1
Lowest review score: 0 Stalker: Season 1
Score distribution:
  1. Positive: 60 out of 60
  2. Mixed: 0 out of 60
  3. Negative: 0 out of 60
60 tv reviews
  1. Hannibal is thematically brilliant and dense in ways that most network television is not, but it wouldn't remotely work without its committed, incredibly talented cast. Dancy and Mikkelson continue to redefine these characters to the point that they're making them their own while Fishburne, Caroline Dhavernas, and another great guest turn by Gillian Anderson elevate the overall ensemble.
  2. Veep starts with four episodes as perfectly conceived and executed as ever.
  3. The show feels more thematically, almost philosophically, confident this year.
  4. It is distinctly its own fascinating thing. And with the addition of great supporting performers like Frank Langella to a narrative arc that grows more captivating with each episode, it could end its third season as the best drama on television.
  5. HBO's program is not just an actor's showcase for two greats. It is dense, complex, rewarding storytelling, heightened by a sense of location from its writer and director that is mesmerizing and a character-driven storytelling aesthetic that brings to mind great films like David Fincher's "Zodiac" and Bong Joon-ho's "Memories of Murder."
  6. As they have for three years, the blend of function and character within the dialogue is breathtaking. One of the best shows of the last several years feels as creatively vital as ever.
  7. With an amazing ensemble driven by great performances from top to bottom, an incredibly smart writers’ room, brilliant callbacks to the original that feel more inspired than forced, and a filmmaking style that feels as cinematic as this grand Minnesotan tragedy deserves, Fargo is one of the most addictive new shows of the year.
  8. What stuns me still about Louie is the complete unpredictability of it all as all four episodes defy TV comedy’s habit of going from point A to point B by taking viewers on another trip altogether.
  9. There’s a confidence in the writing in this episode that’s been missing the last few years, in which it sometimes felt like we were spinning our wheels.
  10. The memorable characters, playful tone, and subtle examination of culture, gender, and social roles continue to impress, as does the underrated ensemble, led by more confident work from Taylor Schilling than in the first season. If anything feels different, that’s it. There’s a striking sense of confidence across the board.
  11. While Rectify may rightly be called a drama, it doesn’t feel like any other.
  12. It is a riveting, heartbreaking, fascinating drama, taking a subject that could easily have been turned into a Lifetime TV Movie melodrama and making it real with its subtle, character-driven grace notes and the breakneck speed of its elaborate plotting.
  13. Better Call Saul is not only a great show in the context of the program that birthed it into existence, but would be a great show with or without Walter White.
  14. The writing is still incredibly crisp, so smart, and never boring, and the deeper focus on relatable emotion, particularly in the definition of the relationship between Holmes (Benedict Cumberbatch) and Watson (Martin Freeman), could even bring in new fans to this international phenomenon.
  15. The program is physical, visceral, and consistently intense. Even the dialogue sounds smarter.
  16. Few films have tapped into the seemingly conflicting emotions that exist in the human soul at exactly the same moment as HBO’s stellar Olive Kitteridge, a delicate, beautiful mini-series starring Frances McDormand, Richard Jenkins, Rosemarie DeWitt, Peter Mullan, Bill Murray and more.
  17. The first must-watch series of 2015.... Togetherness is one of those programs that starts off interestingly enough to warrant a recommendation from the premiere, but it also really improves as it goes along.
  18. Orphan Black can be a little overly reliant on camera tricks and loud music to sell its action but it’s undeniably addictive in its plotting, pushing viewers from one revelation to the next with breakneck speed that doesn't allow for consideration of plot holes.
  19. Daredevil is an intelligent, well-crafted drama series that may be a little thin on actual action for those expecting the CGI orgies associated with the modern Marvel logo but contains the nuance and character that has been missing from most of those blockbusters.
  20. There’s sort of a “fill-in” character for Gregory this season on whom I’m not yet sold after three episodes, but the saga of Pied Piper still promises to be one of the most interesting, and hysterical ones of the Spring.
  21. One of the reasons that You’re the Worst works so well is that we buy this relationship instantly. Geere and Cash have chemistry.
    • RogerEbert.com
  22. Scorsese and Tedeschi’s film is more than a traditional non-fiction document of what happened in the intellectual circles that inspired and were inspired by The New York Review, but a relevant, vital film about the importance of journalism and commentary.
  23. It’s a lot to ask, and I worry that the show’s structure will define the program more than the characters within it or the themes explored by it. Having said that, there’s just as much reason for hope that this will be the next great cable drama. Most notably, the cast clicks.
  24. These are fascinating, smart guys who really know the business but the flashy production of the show distracts from the points they’re trying to make. It’s a minor complaint for a really good show. There are so many remarkably interesting scenes in the first two episodes alone.
  25. Things are more subtly chaotic on Boardwalk Empire this season as well, marked by a season premiere that feels more menacing and violent than the HBO hit often has in the past.
  26. The greatest thing about Unbreakable Kimmy Schmidt is that it keeps getting weirder and funnier.
  27. The premiere is weighed down with a lot of character set-up, taking place mostly at the reunion and focusing on the dynamic between John and Danny. While the next two episodes are tighter, thanks in no small part to an interesting narrative twist that ratchets up tension in the family, there are things that work right from the very beginning, mostly thanks to the cast.
  28. Murphy is a fascinating dichotomy in that he works expertly with actors and actresses (even in a mess like "Eat Pray Love" and undeniably in every season of "AHS") and so the performances he draws from his inevitably-Emmy-winning cast play tug-of-war with his melodramatic leanings and, ultimately, win the fight enough to allow his film to resonate.
  29. The final sequence in the premiere doesn’t quite work like it did in the original, and the small-town atmosphere of dread isn’t quite the same, but these are minor complaints for a surprisingly effective drama.
  30. As you may have been able to tell from the ads, the program a bit too often wears the banner of “Very Important Show” but a grounded, talented cast carries it over those melodramatic speed bumps.

Top Trailers